Yayoi Kusama
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, soft sculpture, performance art, and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition, and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced her contemporaries such as Andy Warhol, Claes Oldenburg, and George Segal and exhibited works alongside the likes of them.[1]
In 1957, she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary media, Kusama became a fixture of the New York avant-garde during the early 1960s where she became associated with the pop art movement. Embracing the rise of the hippiecounterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots. Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art in 1998, the Whitney Museum in 2012, the Tate Modern in 2012, and the Hirshhorn Museum in 2017.[2][3][4] In 2006, she received a Women's Caucus for Art Lifetime Achievement Award.[5] In 2008, Christie's New York sold a work by her for $5.1 million, then a record for a living female artist.[6] In 2015 Artsy named her one of the Top 10 Living Artists of 2015.[7]
Early life: 1929–1949
Born in 1929 in Matsumoto, Nagano, into an affluent family of merchants who owned a plant nursery and seed farm,[8] Kusama started creating art at an early age, and began writing poetry at age 18. Her mother was reportedly physically abusive[9] and Kusama remembers her father as "...the type who would play around, who would womanize a lot".[8]Kusama says that her mother would often send her to spy on her father's extra-marital affairs, which instilled within her a lifelong contempt for sexuality - particularly the male body and phallus: “I don’t like sex. I had an obsession with sex. When I was a child, my father had lovers and I experienced seeing him. My mother sent me to spy on him. I didn’t want to have sex with anyone for years... The sexual obsession and fear of sex sit side by side in me."[10]
When Kusama was ten years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dense fields of dots".[11] These hallucinations also involved flowers speaking to Kusama, and the patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,[12] a process which she has carried into her artistic career and calls "self-obliteration".[13] She was reportedly fascinated by the smooth white stones covering the riverbed near her family home, which she cites as another of the seminal influences behind her long-term fixation on dots.[14]
When Kusama was thirteen years old, she was sent to work in a military factory, where she was tasked with sewing and fabricating parachutes for the Japanese army, which was embroiled in World War II. When discussing her time in the factory, Kusama says that her "adolescence was spent in closed darkness", where she could always hear the air-raid alerts going off and see the American B29s flying overhead in broad daylight. Her childhood was greatly influenced by the events of World War II, and she claims that it was during this period of time that she began to value personal and creative freedoms.[14]
She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948.[15] Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s.[citation needed]
Career
Early success in Japan: 1950–1956
By 1950, Kusama was depicting abstracted natural forms in watercolor, gouache and oil, primarily on paper. She began covering surfaces (walls, floors, canvases, and later, household objects and naked assistants) with the polka dots that would become a trademark of her work.
Kusama on polka dots:
a polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement ... Polka dots are a way to infinity.[16]
The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the image of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated by spots.[17] Her first series of large-scale, sometimes more than 30 ft-long canvas paintings,[18] Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.
Yayoi Kusama said about her 1954 painting titled Flower (D.S.P.S),
One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realized it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs straining my ankle.[19]
New York City: 1957–1972
After living in Tokyo and France, Kusama left Japan at the age of 27 for the United States. She has stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women." [20] In 1957 she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.[21] She stayed there for a year[22]before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice.[23] During her time in the US, she quickly established her reputation as a leader in the avant-garde movement. In 1961 she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend.[24] In the early 1960s Kusama began to cover items such as ladders, shoes and chairs with white phallic protrusions.[25] Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she still maintains. She established other habits too, like having herself routinely photographed with new work [22] and regularly appearing in public wearing her signature bobbed anime wigs and colorful, avant-garde fashions.[10]
Since 1963, Kusama has continued her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing inside on a small platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending space.[26] During the following years, Kusama was enormously productive, and by 1966 she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell among her friends and supporters. However, she did not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe convinced her own dealer Edith Herbert to purchase several works in order to help Kusama stave off financial hardship.[15]
In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Central Park and the Brooklyn Bridge, often involving nudity and designed to protest the Vietnam War. In one, she wrote an open letter to Richard Nixon offering to have vigorous sex with him if he would stop the Vietnam war.[18] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, as in the Grand Orgy to Awaken the Dead at the MoMA (1969), which took place at the Sculpture Garden of the Museum of Modern Art.[25] During the unannounced event, eight performers under Kusama's direction removed their clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.[27]
In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Self-obliteration in 33 Walker Street in New York, and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore East in New York City.[15] She opened naked painting studios and a gay social club called the Kusama 'Omophile Kompany (kok).[28]
In 1966, Kusama first participated in the Venice Biennale, for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpet". As soon as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a golden kimono,[18] began selling each individual sphere for 1,200 lire (US$2), until the Biennale organisers put an end to her enterprise. Narcissus Garden was as much about the promotion of the artist through the media as it was an opportunity to offer a critique of the mechanisation and commodification of the art market.[citation needed]
During her time in New York, Kusama had a brief relationship with artist Donald Judd. She then began a passionate, but platonic, relationship with the surrealist artist Joseph Cornell. She was twenty-six years his junior - they would call each other daily, sketch each other, and he would send personalised collages to her. Their lengthy association would last until his death in 1972.[29]
Return to Japan: 1973—1977
In 1973, Kusama returned to Japan in ill health, where she began writing shockingly visceral and surrealistic novels, short stories, and poetry. She became an art dealer, but her business folded after several years and in 1977 Kusama checked herself into the Seiwa Hospital for the Mentally Ill, where she eventually took up permanent residence. She has been living at the hospital since, by choice.[30] Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Shinjuku, Tokyo.[31] Kusama is often quoted as saying: "If it were not for art, I would have killed myself a long time ago."[32]
From this base, she has continued to produce artworks in a variety of media, as well as launching a literary career by publishing several novels, a poetry collection, and an autobiography.[9] Her painting style shifted to high-colored acrylics on canvas, on an amped-up scale.[33]
Revival: 1980s–present
Her organically abstract paintings of one or two colors (the Infinity Nets series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international interest.[34]
Following the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with small pumpkin sculptures in which she resided in color-coordinated magician's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to represent for her a kind of alter-ego or self-portrait.[35] Kusama's later installation I'm Here, but Nothing (2000–2008) is a simply furnished room consisting of table and chairs, place settings and bottles, armchairs and rugs, however its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV light. The result is an endless infinite space where the self and everything in the room is obliterated.[36] The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's most notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.[37]
In her ninth decade, Kusama has continued to work as an artist. She has harkened back to earlier work by returning to drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-canvas works. Also featured was an exploration of infinite space in her Infinity Mirror rooms. These typically involve a cube-shaped room clad in mirrors, with water on the floor and flickering lights; these features suggest a pattern of life and death.[38]
In 2017, a 50-year retrospective of her work opened at the Hirshhorn Museum in Washington, DC. The exhibit featured six Infinity Mirror rooms, and is scheduled to travel to five museums in the US and Canada.[39][40] On February 25, 2017, Kusama's All the Eternal Love I Have for the Pumpkins exhibit, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for three days following damage to one of the exhibit's glowing pumpkin sculptures. The room, which measures 13 square feet (1.2 m2) and is filled with over 60 pumpkin sculptures, is one of the museum's most popular attractions ever. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a show with that kind of visitor demand", with the room averaging over 8,000 visitors between its opening and the date of its temporary closing. While there were conflicting media reports about the cost of the damaged sculpture and how exactly it was broken, Allison Peck stated that "there is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." The exhibit was reconfigured to make up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama.[41]
Works
Performance
In Yayoi Kusama’s Walking Piece (1966), a performance that was documented in a series of eighteen color slides, Kusama walks along the streets of New York City in a traditional Japanese kimono with a parasol. The kimono suggests traditional roles for women in Japanese custom. The parasol, however, is made to look inauthentic as it is really a black umbrella painted white on the exterior and decorated with fake flowers. Kusama walks down unoccupied streets in an unknown quest. She then turns and cries without reason, and eventually walks away and vanishes from view. This performance, through the association of the kimono, involves the stereotypes that Asian American women continue to face. However, as an avant-garde artist living in New York, her situation alters the context of the dress, creating a cross-cultural amalgamation. Kusama is able to point out the stereotype that her white American audience categorizes her in by showing the absurdity of cultural categorizing people in the world’s largest melting pot.[42]
Film
In 1968, the film Kusama's Self-Obliteration which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. In 1991, Kusama starred in the film Tokyo Decadence, written and directed by Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.
